Ceramic artists list
> Ceramic artists list 100. Tim Rowan 99. Graciela Olio 98. Michal Fargo 97. Ryan Blackwell 96. Ellen Schön 95. Francesco Ardini 94. David Gallagher 93. Elizabeth Shriver 92. Jason Hackett 91. Patricia Sannit 90. Bente Skjøttgaard 89. Steve Belz 88. Ruth Power 87. Jenni Ward 86. Liliana Folta 85. Kira O'Brien 84. Annie Woodford 83. Kwok-Pong Bobby Tso 82. Bogdan Teodorescu 81. Kimberly Cook 80. Paula Bellacera 79. Debra Fleury 78. Cindy Billingsley 77. David Gilbaugh 76. Teresa & Helena Jané 75. Marianne McGrath 74. Suzanne Stumpf 73. Deborah Britt 72. Kathy Pallie 71. Els Wenselaers 70. Kjersti Lunde 69. Brian Kakas 68. Marie T. Hermann 67. Mark Goudy 66. Susan Meyer 65. Simcha Even-Chen 64. Barbara Fehrs 63. Shamai Gibsh 62. Natalia Dias 61. Bethany Krull 60. Amanda Simmons 59. Arthur Gonzalez 58. Chris Riccardo 57. Akiko Hirai W 56. Johannes Nagel 55. Rika Herbst 54. Liza Riddle 53. Chang Hyun Bang 52. Virginie Besengez 51. Jasmin Rowlandson 50. Chris Wight 49. Wim Borst 48. Rafael Peréz 47. Guðný Hafsteinsdóttir 46. Cathy Coëz 45. Merete Rasmussen 44. Carol Gouthro 43. JoAnn Axford 42. David Carlsson 41. Margrieta Jeltema 40. David Roberts 39. Patrick Colhoun 38. Abigail Simpson 37. Signe Schjøth 36. Katharine Morling 35. Dryden Wells 34. Antonella Cimatti 33. Cynthia Lahti 32. Carole Epp 31. Blaine Avery 30. Ian Shelly 29. Jim Kraft 28. Wesley Anderegg 27. Connie Norman 26. Arlene Shechet 25. Young Mi Kim 24. Jason Walker 23. Peter Meanley 22. Shane Porter 21. Jennifer McCurdy 20. Yoichiro Kamei 19. Debbie Quick 18. Ian F Thomas 17. John Shirley 16. Grayson Perry 15. Vivika & Otto Heino 14. Georges Jeanclos 13. Daniel Kavanagh 12. Nagae Shigekazu 11. Matthew Chambers 10. Tim Andrews 9. Claire Muckian 8. Adam Frew 7. Maciej Kasperski 6. Roxanne Jackson 5. Keith Schneider 4. Celeste Bouvier 3. Tim Scull 2. Kim Westad 1. Sara Paloma

ceramics now magazine

Bente Skjøttgaard: Clouds, Pink Cloud no 1033, 2010, Stoneware and glaze, hand built, 48 x 49 x 29 cm. Photo: Ole Akhøj

  • Bente Skjøttgaard: Clouds, Pink yellow cumulonimbus no 1035, 2010, Stoneware and glaze, hand built, 43 x 27 x 26 cm. Photo: Ole Akhøj

  • CERAMICS NOW SHOP:

    Issue Two - Ceramics Now Magazine

    Ceramics Now Magazine’s Issue Two introduces the work of over 35 international artists, beginning with Ken Eastman, Kimberly Cook, Patricia Sannit, Marianne McGrath, Annie Woodford, Suzanne Stumpf or Ruth Power, and continuing with a special feature on Romanian ceramic artists, and a preview feature for Copenhagen Ceramics. The issue also inaugurates Ceramics Now’s new Review category.

    / Cover: Ken Eastman, Hold your own. Media: Stoneware with painted coloured slips and oxides. Dimensions: 14.9 x 13 x 21.3 inches / 38 x 33 x 54 cm.

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    FULL CONTENT
    Ken Eastman, Brian Kakas, Patricia Sannit, Steve Belz, Kimberly Cook, Annie Woodford, Jenni Ward, Kwok-Pong Bobby Tso, Liliana Folta, Deborah Britt, Cindy Billingsley, Paula Bellacera, Teresa & Helena Jané, Virginie Besengez, Els Wenselaers, Walter B. Stephen (review by Jill Beute Koverman), Cybele Rowe and Lauren Ari (review by Daniel Fleischmann), Allison Luce (review by James Romaine), Tom Hubbard (review by Roxana Ciobanu), Ceramics Now Exhibition (review by Vasi Hîrdo), Max Cheprack, Suzanne Stumpf, Marianne McGrath, Kathy Pallie, Debra Fleury, Bente Skjøttgaard, Bodil Manz, Arina Ailincăi, Marta Jakobovits, Romana Mateiaş, Aniela Ovadiuc, Oriana Pelladi, Eugenia Pop, Cristina Popescu Russu, Simona Tănăsescu, Bogdan Teodorescu, Anti-Utopias.

    Read more about this issue.

  • CERAMICS NOW SHOP:

    Digital Issue Two - Ceramics Now Magazine

    Ceramics Now Magazine’s Issue Two introduces the work of over 35 international artists, beginning with Ken Eastman, Kimberly Cook, Patricia Sannit, Marianne McGrath, Annie Woodford, Suzanne Stumpf or Ruth Power, and continuing with a special feature on Romanian ceramic artists, and a preview feature for Copenhagen Ceramics. The issue also inaugurates Ceramics Now’s new Review category.

    / Digital Cover: Romana Cucu Mateiaş, Signs between Heaven and Earth. Media: Earthenware, Metalic oxides, 64.2 x 6.7 inches, 75.2 x 6.7 inches / 163 x 17 cm, 191 x 17 cm.

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    WHAT YOU GET - DIGITAL
    - Full content of the issue for a very good price.
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    - .PDF (Windows) and .EPUB (Mac) files only.

    FULL CONTENT
    Ken Eastman, Brian Kakas, Patricia Sannit, Steve Belz, Kimberly Cook, Annie Woodford, Jenni Ward, Kwok-Pong Bobby Tso, Liliana Folta, Deborah Britt, Cindy Billingsley, Paula Bellacera, Teresa & Helena Jané, Virginie Besengez, Els Wenselaers, Walter B. Stephen (review by Jill Beute Koverman), Cybele Rowe and Lauren Ari (review by Daniel Fleischmann), Allison Luce (review by James Romaine), Tom Hubbard (review by Roxana Ciobanu), Ceramics Now Exhibition (review by Vasi Hîrdo), Max Cheprack, Suzanne Stumpf, Marianne McGrath, Kathy Pallie, Debra Fleury, Bente Skjøttgaard, Bodil Manz, Arina Ailincăi, Marta Jakobovits, Romana Cucu Mateiaş, Aniela Ovadiuc, Oriana Pelladi, Eugenia Pop, Cristina Popescu Russu, Simona Tănăsescu, Bogdan Teodorescu, Anti-Utopias / Sabin Borş.

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  • Interview with Steve Belz - Artist of the month, April 2012

    ARTIST OF THE MONTH, April 2012: Steve Belz

    / Read the full interview in Ceramics Now - Issue Two

    Ceramics Now Magazine
    : You are strengthening your career as a ceramic artist year by year. What was your first contact with ceramics and when did you realize you have a passion for it?

    I took a ceramics class in my junior year in college, and that changed my world instantly. I was constantly in the studio. I had worked with wood and metal prior to clay, but it was amazing to find one material that possesses the qualities of many materials. Throughout its various stages, clay is plastic at first, then flexible and strong like wood, then hard like steel. This is over simplified, but basically I love the metamorphic qualities of clay. It is an incredible material that twenty years later, I am still very passionate about.

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    Steve Belz Contemporary Ceramics
    Assisted Nucleation, 2011, Low fire ceramic, washes, glaze, rubber cord and steel fastener, 20H x 30W x 10D inches - View his works

    What is the most difficult part in constructing a new piece? Tell us about your creative process, from sketches to the final display.

    I usually work on multiple pieces at one time, so that they feed off of each other as a series. My work is often an amalgamation of forms and details from mostly natural objects and landscapes. I have a lot of natural objects and photographs around my studio. I use these details as a starting point for the forms and surfaces that I create, often manipulating the scale or color of the details that I am interested in. 

    I often start by sketching in a notebook to quickly work through ideas, then I move to a large chalkboard for some full scale sketching. My sketches are often covered in words that inform the themes I am working on. Once I can visualize the form I want to create I move on to construction, my favorite part.

    The most difficult part of constructing my larger work is managing the appropriate humidity. I allow certain areas to dry enough so that they have strength to support the form, while other areas are wet enough so that I can continue adding more clay. All of this happens while maintaining a smooth gradation of humidity between those areas to avoid cracks. I spend several weeks working on one piece, often jumping between other pieces while I wait for one to dry enough.

    I rarely build my work in the position that it will rest. This does two things. It makes it easier to move the piece around to work on it and it keeps the orientation of the object open until the end of the building process. I can have most of the form completed and then cut and dart areas to modify the form. Once the main form is completed I smooth and refine the surface. This step is very meditative for me. It has a rhythm and fluidity that I enjoy.

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  • Interview with Ruth Power - New artist, April 2012

    NEW ARTISTS, April 2012: Ruth Power

    / Read the full interview in Ceramics Now - Issue Two

    Ceramics Now Magazine
    : You are a very young ceramic artist. When did you discover the potential of this medium? Did school have an important role in directing you on this path?

    Ruth Power: Like most artists. makers or craftspeople, I have been interested in art and working with my hands from a very young age. I had a fairly basic art education in secondary school in Ireland (largely based on 2-dimensional drawing work) - quite the antithesis of what we do in third level education. However, I decided that I wanted to attend the National College of Art and Design (Dublin) from a fairly young age and my art teachers in school encouraged me to do so.

    The college has a great system, by which everybody does a Core Year in their primary year (four years in total). From here, the student embarks on their first steps towards their professional formation as artists, designers and educators. The student has the opportunity to sample the diverse courses the college has to offer and in turn, discover where their strengths, weaknesses and passions lie.
    Many people (such as myself when I began) have no idea what department they wish to pursue when they enter, so this system works really well. Throughout the year, I did a lot of 3D making and intricate work with wire and found objects, so I decided to go into the Ceramics, Glass and Metals Department, specializing in metals. However, when I entered the department I fell in love with ceramics and its diversity. I knew nothing about the material, glazing or mold-making. The only experience I had with clay was when I made a pinch pot in 1993 for Mother’s Day. I painted in neon pink and yellow (which was in vogue at the time!) with ‘Ruth Power, Age 5’ scrawled into the base. I was in instant awe of the abundance of potential of the material, and the infinite amount of creative and scientific exploration that could be done with this ancient medium. Thus, it was only until I was in my second year of college that I discovered the potential of ceramics.

    Ruth Power Ceramics, tentacles, sexuality
    Breasts (Cephalophilia), 2011, 48cm wide x 42cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior (Black and white image) - View her works

    Your works are debating subjects like censorship, mainstream pornography or sexual repression: did you choose these topics in the hunt for controversy?

    I have identified with being a feminist for many years now and these subjects have been of huge importance to me. I had researched and discussed those topics for quite some time before merging them into my artwork, when I was in Third/Fourth Year. I wrote my thesis on a very similar subject (how pornography is influencing mainstream trends). In Second Year, we focused on skills and techniques and thus, did not get the chance to incorporate much of our own expression. It wasn’t until Third Year that we were taking on self directed projects and had the opportunity to entirely immerse ourselves into our own fully developed concepts.

    To me personally, the work is not controversial; it is dealing with issues that I believe need to be addressed urgently and discussed more openly. Its just that sexual politics and pornography are not usually deliberated, and the naked body is still taboo in our culture. Moreover, because I have had a considerable interest in such topics for quite some time, any of the initial ‘shock’ factor had been lost on me a long time ago. So, for me, the work was never really controversial (especially since I have an open attitude towards sex, sexuality and the body). It was bringing to light issues that I believe need to be confronted, issues that affect me personally.

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  • Residence of Growth, Allison Luce at the Zentrum für Keramik-Berlin / Review

    REVIEW, April 2012:

    Residence of Growth, Allison Luce at the Zentrum für Keramik-Berlin
    by James Romaine

    / Read the full review in Ceramics Now - Issue Two

    Since its inception in 2005, the Zentrum für Keramik-Berlin has been an oasis of cultural exchange for ceramic artists in one of Europe’s principal artistic centers. Founded by Thomas Hirschler and Kaja Witt, the residency program provides a creative sanctuary in the midst of an exhilarating city where artists from around the world can create artwork stimulated by their surroundings and experiences. Developed after the couple spent time at the Archie Bray foundation in Helena, Montana, the Zentrum für Keramik-Berlin welcomes artists to a city that is, at once, standing in history and bursting into the future.

    Ceramicist Allison Luce, who lives and works in Charlotte, North Carolina (USA), participated in a residence at the Zentrum für Keramik-Berlin between May and July 2010. Inspired by a city with such a tumultuous past, Luce was amazed at the beauty and resiliency of life that was Berlin. This residence allowed her to experience the city in a different way than previous trips that were characterized by quick visits to the main tourist sights. By taking bike rides along the Mauer Weg, following the path of the Berlin Wall, she was able to weave between the former East and West Berlin in a way that was impossible for 30 years and experience where the wall divided the city. Since Luce was there during the spring, she saw the quiet garden of the residency transformed into a blossom of life. As the weather warmed, she also went to various monuments and landmarks around the city, such as the Soviet War memorial, which is tucked away in a quiet residential neighborhood. Luce was amazed to experience a city’s metamorphosis woven from a web of history into something thriving and beautiful.


    Evaporate, 2010, 14.5” x 13” x 5.5”, Fired Clay with oxides, watercolor, mixed media. Photo by Allison Luce.

    In Berlin, Luce developed a body of sculpture, collectively entitled “The Serpent Tree”. Referencing nature as well as the body, “The Serpent Tree” works, such as Mandrake and Echo, as vessels of birth, growth, death and, even, life through death. The theme of residence has been a central theme of Luce’s ceramics for many years. Her work materializes the twisted processes of organic growth. One of the advantages of clay ceramics, born of earth and fire, is its potential material affinity with the viewer. Luce’s work takes full advantage of this affinity. Working in clay, the material out of which all of humanity was created, her sculptures explore the ephemeral nature of our existence and the belief in the promise of life. Just as the body is the residence of the soul, Luce’s sculptures are residences of presence and meaning.

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  • Interview with Jenni Ward - Spotlight, April 2012

    SPOTLIGHT, April 2012: Jenni Ward

    / Read the full interview in Ceramics Now - Issue Two

    Ceramics Now Magazine
    : You are presenting yourself as a sculptor even though you have a BFA in Ceramics. What are you currently working on?

    Jenni Ward: Although I’ve been educated in all aspects of ceramics; pottery, functional hand-building or sculpture, I’ve chosen to focus on abstract sculptural ceramics. I feel that if I say I’m a ceramicist, people either don’t know what I’m talking about or they assume I throw pots, so I feel that introducing myself as a sculptor who works with clay is a more precise description of the work I create. Right now I’m working with organic forms that have holes cut into them and those forms have other ceramics pieces that are trapped inside. This process of trapping forms has manifested itself into multiple series of work. I’m conceptually playing with the balance between trapping and protecting an object and simultaneously exploring abstract ways to express that in clay.

    Jenni Ward Contemporary Ceramics, featured on Ceramics Now Magazine
    Nest Series IV, 2010, ceramic & high temperature, wire, 12” x 10” 8” - View her works

    What triggered the passion for ceramics in you?

    I have always worked with clay, my parents still have the first coil pot I made as a kid and I just never stopped working with clay. I was lucky enough to of had an in depth ceramics program in my high school. That exposure gave me the experience to explore clay and know that it was going to be my focus at the university level. I also really love the process of working with clay; each stage that you go through from a soft malleable material to a fired finished piece offers the chance that everything can go wrong at any step in the process. Having the ability to balance control over the clay and letting what happens happen is always a battle for me that I’m very attracted to. I’m constantly learning new techniques or possibilities with clay whether it’s through taking a workshop or seeing another artist at work. Clay is a very basic, primitive material that can be used in such varied and technological ways; it’s a constant learning process.

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  • Interview with Suzanne Stumpf, Interactive sculptures - Techniques, April 2012

    TECHNIQUES, April 2012: Suzanne Stumpf, Interactive sculptures

    / Read the full interview in Ceramics Now - Issue Two

    Ceramics Now Magazine
    : The versatility of your work is very inspiring and makes the viewer ask himself whether he should play with your works or just to admire their universe. When did you begin to create such intricate pieces?

    Suzanne Stumpf: Thank you for your kind words. I began to create interactive sculptural pieces about 7-8 years ago, after I had been working in clay for about about three years or so. From the outset, drawing the audience in to touch and explore has always been a goal. But also, I have intended for each work to have its own strong essence that invites contemplation/reflection.

    Modularity and interactivity are two main characteristics of your work. How much time does it take to complete a new work? Do you make many sketches?

    My interactive sculptures generally take many weeks. The germination of an idea and realization of each work can also be a lengthy process, particularly when there are complicated construction or even “engineering” issues involved. I can sometimes spend a couple of months in the “head-scratching” stage and work on other projects while I sort out the steps and best approaches. I do keep a notebook with sketches and notes, but I do not personally find it easy to translate some of these projects onto the page. With a fairly good aptitude for spatial relations, I hold much of the planning in my head initially. Because I build primarily in porcelain, extremely slow drying is key — I cannot emphasize this enough. And, of course, this also adds to an already long creation process.

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    Suzanne Stumpf Interactive sculptures, Contemporary Ceramics
    Spike, 2008, 5.5”h x 8”w x 3” d, wheelthrown and altered porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10 - View her works

    Some of your works consist in multi-component pieces that, put together, metamorphose each time in different compositions. Do your Interactive Sculptures illustrate the ludic dimension of art? How important is this element for you?

    My answer depends on the tenor of the word “ludic”. Although the mere invitation to rearrange components may seem a playful act and some of my sculptures may even possess qualities of games, the interaction by the audience has never seemed aimless to me. To the contrary, I witness people being extremely thoughtful about what they are creating as they rearrange components. The idea with these works is that there are nearly innumerable permutations that the viewer can create, all of which will reveal different aspects of the sculpture’s essence for contemplation.

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  • Interview with Cindy Billingsley - Spotlight, April 2012

    SPOTLIGHT, April 2012: Cindy Billingsley

    / Read the full interview in Ceramics Now - Issue Two

    Ceramics Now Magazine
    : You are both a painter and a ceramic artist; is one medium closer to you than another?

    Cindy Billingsley: Both mediums have equal places in my heart. It mainly depends on the subject or idea I have, clay is sometimes better at conveying my passion or idea then paint is. There is nothing like the feel of clay in hand. I can say in Ceramics what I can not with paint. Clay is felt with all, the eyes, hands and the heart. No other medium can do this. Clay comes from the earth and has that feeling of being alive if sculptures right. If you look closely at a ceramic sculpture you can see the finger marks, the hand prints — it is made by the hand and touch of the artist.

    I love in clay that, as an artist, I can take that lump of clay and make it into something magical, something others can touch and see the passion I had for my idea. This is what drew me to clay as my medium.

    []

    Cindy Billingsley Ceramics - featured on Ceramics Now Magazine
    Chamber Nautlius
    , 2005, 15” x 18” x 9”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax - View her works

    There is a visible fascination for the world of animals reflected in your work; where does this interest come from? Tell us more about the subjects you explore.

    Since childhood I have had and felt a closeness with animals. I have lived in the company of animals more than in the company of people. So naturally, I would follow that path with my art. In Ceramics I could finally convey the gesture and mood of an animal with the strokes of the clay without a lot of detail.
    I have always been more interested in capturing the spirit of an animal or its essence than making an exact model of an animal. Clay freed me up to be able to do this, with quick clay marks here, and strokes of clay there. Clay has that wonderful freedom to it. And Clay sometimes has it’s own ideas about how a piece will come about, that I might not have thought of until I was in the middle of sculpting it. I am drawn to the less familiar animals in my sculptures, like the blue ring octopus, Okapi or fruit bats. These animals fascinate me. Trying to make clay appear like soft fur is the challenge and the fun, like with my Koala sculpture.

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  • Steve Belz

    Steve Belz Ceramics - Featured ceramic artist

    Steve Belz's profile on Ceramics Now Magazine - View his works

    “The environment is in a delicate balance between well-being and decline. For a healthy society, we must be responsive to the fact that all of our activities affect the Earth. My sculptures express the beauty of nature and the tension created by man’s manipulation of our environment. I use the beauty of form to increase the viewer’s emotional connection with nature. This connection to nature can expand one person’s, and ultimately our society’s compassion for the natural world.

    Historically we have manipulated plants by gathering seeds, grafting limbs, and controlling pollination of plants with traits we find favorable. These qualities were gradually developed over countless generations. What is different about our more recent modification of plants is the far-reaching selection of traits from organisms that would not be accessible without genetic engineering. For instance, splicing a fish gene with a strawberry to make the strawberry more resistant to cold could not occur if not for techniques developed by scientists. This kind of manipulation is dramatically different from our prior system of plant selection and has potentially profound effects on the Earth.

    I use manufactured elements in my work to create a tension meant to bring about a consciousness within the viewer, to open a dialogue about contemporary society’s association with nature. This discussion can raise awareness of the danger that our current situation poses. A lack of responsibility and stewardship for the Earth creates many problems for the planet, among them degradation of our basic life support systems, as reflected in the loss of biodiversity, increased toxicity of our food systems, inefficient use of natural resources and global climate change. I hope that my art will encourage viewers to educate themselves and become increasingly proactive in assuring a sustainable future.” Steve Belz

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  • Steve Belz: Assisted Nucleation, 2011, Low fire ceramic, washes, glaze, rubber cord and steel fastener, 20H x 30W x 10D inches

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